Grace Design m102 optical compressors

Product Description

Introducing the m102 optical compressors. While both share identical audio circuitry, the m102 is built in a half-rack 1U module.

From gentle dynamic smoothing to full tilt squash, these units deliver open, musical dynamic control that is the perfect companion to our high fidelity mic preamplifiers or any recording chain. All your tracks can now have glorious, easy to use compression which regardless of how much you squeeze, will always end up with their sonic essence perfectly intact.

The heart of the compressor circuit is an optical attenuator - the purest, high fidelity gain control mechanism available. With careful attention to control circuit design, we are able to implement a feedback opto compressor that not only provides a wide range of dynamic control, but remains inherently neutral, open and musical.

Both are full featured units, including input and output level, threshold, attack, release and ratio controls. The m102 includes balanced inputs and outputs, both with parallel XLR and ¼" TRS connectors, along with a 1/4" TRS jack for stereo link or sidechain signal input.

While lots of our gear adorns the most expensive recording and audio production facilities in the world, all of it sounds that way, and the m102 is no exception. We eagerly invite you to hear what truly transparent, musical dynamic control can do for your audio production. The perfect way to zip it all up and send it all downstream: clean, intact and alive.

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{"id":9447157901,"title":"Warm Audio WA-2A","handle":"warm-audio","description":"\u003ch1 class=\"ui-title-bar__title\"\u003eWarm Audio WA-2A\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003eAnalog Tone.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThough digital technology and software have made great strides in recent years; we still believe that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. When you hear the bottom-end presence and top-end detail of quality analog gear, the difference can be astounding. The cost of most boutique analog equipment is financially out of reach for many recording artists. Our mission is to change this, and introduce as many people as we can to recording and mixing with real, dedicated hardware.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e'2A Style Optical Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNo plug-in or other compressor type quite compares to the warm, forgiving, fluid qualities of this classic '2A-style optical compressor. For decades, the renowned ‘2A style circuit has become the go-to device for seamlessly handling vocals, bass, and a wide variety of other instruments and program material in an effortlessly smooth way.\u003cbr\u003e​\u003cbr\u003eReleasing the WA-2A would be for nothing if we couldn’t make it affordable. Since the start of Warm Audio we have strived to give an unprecedented value to our customers, by putting high end audio within the reach of more people than ever before. This philosophy drives everything we do, and every product we offer.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Specifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e • '2A Style, Transformer balanced, high voltage, opto tube compressor .\u003cbr\u003e • Utilizes premium grade input and output CineMag USA Transformers.\u003cbr\u003e • Utilizes USA made Kenetek opto attenuator.\u003cbr\u003e • Premium Tung-Sol and Electro-Harmonix tubes. 2x 12ax7, 1x 12bh7, 1x 6aq5\u003cbr\u003e • Fully discrete signal path.\u003cbr\u003e • Socketed to allow for retro-fitting with other opto-cells.\u003cbr\u003e • Variable Pre-emphasis, allows for compression hipass filtering.\u003cbr\u003e • Stereo-link capability.\u003cbr\u003e • XLR and TRS balanced line level inputs - 600 ohms impedance.\u003cbr\u003e • XLR and TRS balanced line level outputs - 600 ohms impedance.\u003cbr\u003e • Frequency Response +\/- 1 dB, 15 Hz to 20kHz.\u003cbr\u003e • Gain 40 dB ±1dB.\u003cbr\u003e • Input Level +16 dB maximum.\u003cbr\u003e • Output Level +10 dB nominal, +16 dB maximum.\u003cbr\u003e • Distortion Less than 0.1% THD at ±10 dBm.\u003cbr\u003e • Noise = -74dB.\u003cbr\u003e • Attack Time - 10 milliseconds.\u003cbr\u003e • Release Time - 0.06 seconds for 50% release.\u003cbr\u003e • 0.5 to 5 seconds for complete release.\u003cbr\u003e • Meter shows both dB gain reduction and dB output.\u003cbr\u003e • Power - 115\/230 volts (switchable), 50\/60 Hz.\u003cbr\u003e • Dimensions - 19\" Rackmount chassis, 2U. 19\" x 7\" x 3.5\".\u003cbr\u003e • Weight - 12 lbs.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e Unit Weight 5.5kg\u003c\/li\u003e\n\u003cli\u003eUnit Size 10x23x6 inch \/ 26x58x15 cm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003ePremium Components in every Warm Audio product.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A is a high-voltage, Class-A opto-compressor, utilzing large-core CineMag USA Transformers, four premium vacuum tubes, and the legendary Kenetek opto-cell - considered by many to be the world’s finest.\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Four Tube Operation.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A operates on four tubes: two 12AX7’s, one 12BH7, and one 6P1J. We proudly use Tung-Sol and Electro-Harmonix brand tubes in the signal path, which sound very 'open' and LARGE. All 4 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e","published_at":"2017-03-25T14:47:00+02:00","created_at":"2017-03-25T14:47:52+02:00","vendor":"Warm Audio","type":"Ube compressor","tags":["Compressors \/ Limiters","Price Range_$750 to $1000","Shop by brand_Warm Audio","Shop by category_Compressors \/ Limiters","Signal Processing","Studio \u0026 Recording","Warm Audio"],"price":89900,"price_min":89900,"price_max":89900,"available":true,"price_varies":false,"compare_at_price":131880,"compare_at_price_min":131880,"compare_at_price_max":131880,"compare_at_price_varies":false,"variants":[{"id":34812162125,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"WA-2A","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Warm Audio WA-2A","public_title":null,"options":["Default Title"],"price":89900,"weight":0,"compare_at_price":131880,"inventory_quantity":0,"inventory_management":null,"inventory_policy":"deny","barcode":"638142859097 "}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_3db301cc84374dc8b0224cd57cba1928_mv2.jpg?v=1490447545","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_9d42394450a24a6c84e3eddcb7819999_mv2.jpg?v=1490447582","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_277af1f75a0c42459bd275c4b4dfd381_mv2.jpg?v=1490447596","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_ce610007afa246228704f5835ca76e61_mv2.jpg?v=1490447623","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_6262f5ed64bc469db7b36632e44494aa_mv2.png?v=1490447803","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_71245a5e0f714827b4151743455b0a65_mv2.png?v=1490447818","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_38a31989d40642df9936206c3c7160bd_mv2.png?v=1490447860"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/dada90_3db301cc84374dc8b0224cd57cba1928_mv2.jpg?v=1490447545","options":["Title"],"content":"\u003ch1 class=\"ui-title-bar__title\"\u003eWarm Audio WA-2A\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003eAnalog Tone.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThough digital technology and software have made great strides in recent years; we still believe that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. When you hear the bottom-end presence and top-end detail of quality analog gear, the difference can be astounding. The cost of most boutique analog equipment is financially out of reach for many recording artists. Our mission is to change this, and introduce as many people as we can to recording and mixing with real, dedicated hardware.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e'2A Style Optical Compressor - Made Affordable.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNo plug-in or other compressor type quite compares to the warm, forgiving, fluid qualities of this classic '2A-style optical compressor. For decades, the renowned ‘2A style circuit has become the go-to device for seamlessly handling vocals, bass, and a wide variety of other instruments and program material in an effortlessly smooth way.\u003cbr\u003e​\u003cbr\u003eReleasing the WA-2A would be for nothing if we couldn’t make it affordable. Since the start of Warm Audio we have strived to give an unprecedented value to our customers, by putting high end audio within the reach of more people than ever before. This philosophy drives everything we do, and every product we offer.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Specifications\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e • '2A Style, Transformer balanced, high voltage, opto tube compressor .\u003cbr\u003e • Utilizes premium grade input and output CineMag USA Transformers.\u003cbr\u003e • Utilizes USA made Kenetek opto attenuator.\u003cbr\u003e • Premium Tung-Sol and Electro-Harmonix tubes. 2x 12ax7, 1x 12bh7, 1x 6aq5\u003cbr\u003e • Fully discrete signal path.\u003cbr\u003e • Socketed to allow for retro-fitting with other opto-cells.\u003cbr\u003e • Variable Pre-emphasis, allows for compression hipass filtering.\u003cbr\u003e • Stereo-link capability.\u003cbr\u003e • XLR and TRS balanced line level inputs - 600 ohms impedance.\u003cbr\u003e • XLR and TRS balanced line level outputs - 600 ohms impedance.\u003cbr\u003e • Frequency Response +\/- 1 dB, 15 Hz to 20kHz.\u003cbr\u003e • Gain 40 dB ±1dB.\u003cbr\u003e • Input Level +16 dB maximum.\u003cbr\u003e • Output Level +10 dB nominal, +16 dB maximum.\u003cbr\u003e • Distortion Less than 0.1% THD at ±10 dBm.\u003cbr\u003e • Noise = -74dB.\u003cbr\u003e • Attack Time - 10 milliseconds.\u003cbr\u003e • Release Time - 0.06 seconds for 50% release.\u003cbr\u003e • 0.5 to 5 seconds for complete release.\u003cbr\u003e • Meter shows both dB gain reduction and dB output.\u003cbr\u003e • Power - 115\/230 volts (switchable), 50\/60 Hz.\u003cbr\u003e • Dimensions - 19\" Rackmount chassis, 2U. 19\" x 7\" x 3.5\".\u003cbr\u003e • Weight - 12 lbs.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e Unit Weight 5.5kg\u003c\/li\u003e\n\u003cli\u003eUnit Size 10x23x6 inch \/ 26x58x15 cm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003ePremium Components in every Warm Audio product.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A is a high-voltage, Class-A opto-compressor, utilzing large-core CineMag USA Transformers, four premium vacuum tubes, and the legendary Kenetek opto-cell - considered by many to be the world’s finest.\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Four Tube Operation.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe WA-2A operates on four tubes: two 12AX7’s, one 12BH7, and one 6P1J. We proudly use Tung-Sol and Electro-Harmonix brand tubes in the signal path, which sound very 'open' and LARGE. All 4 tubes are socketed for easy swapping and replacement.\u003c\/p\u003e\n\u003cul\u003e\u003c\/ul\u003e"}

Warm Audio WA-2A

$899.00

Warm Audio WA-2A
Analog Tone.
Though digital technology and software have made great strides in recent years; we still believe that nothing compares to the level of articulation, depth, realism, and responsiveness of a well-built piece of analog gear. When you hear the bottom-end presence and top-end detail of quality analog gear, the differenc...

{"id":108393168922,"title":"MASELEC MLA-4 Multiband Compressor \/ Expander","handle":"maselec-mla-4-multiband-compressor-expander","description":"\u003cp\u003e\u003cstrong\u003eMASELEC MLA-4 Multiband Compressor \/ Expander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNew multiband Compressor \/ Expander developed from the popular MLA-3 with added expander functions\u003cbr\u003efor all frequencies.\u003cbr\u003eThe MLA-4 is a powerful tool that could be used for:\u003cbr\u003eRestoring and improving over-compressed or\u003cbr\u003euneven mixes.\u003cbr\u003eChanging the tonal balance when ordinary equalizers are unable to do the job.\u003cbr\u003eCreating exciting new sounds with the unique linking that combines compression and expansion.\u003c\/p\u003e\n\u003cp\u003eThe input signal is split into three frequency-bands. Each\u003cbr\u003e band is passed through a stereo \u003cbr\u003ecompressor \/ expander, where gain and processing can be altered. \u003cbr\u003eThe outputs of the compressors \/ expanders are then re-combined and fed to the outputs. \u003cbr\u003eThere are four different frequencies for each of the two crossovers that can be separately \u003cbr\u003eselected for the low-to-mid and the mid-to-high bands.\u003cbr\u003eThe three frequency-band compressors \/ expanders have separate controls so that different \u003cbr\u003eparts of the audio spectrum can be adjusted and tuned. \u003cbr\u003eWith separate gain controls for each frequency-band, the \u003cbr\u003eMLA-4 can also be used as an equalizer. \u003cbr\u003eYou can always adjust the controls for the separate frequency bands to different settings. \u003cbr\u003eThere is no \u003cbr\u003etechnical \u003cbr\u003ereason why they should be the same for all frequencies. \u003cbr\u003eSeparate Input and Output gain controls, make the MLA-\u003cbr\u003e4 easy to use for different operating levels. \u003cbr\u003eInputs \u003cbr\u003eThe inputs are electronically balanced, virtually ground floating, making them perform as if they \u003cbr\u003eare transformer coupled, but without the associated colouration, low frequency distortion and \u003cbr\u003erestricted bandwidth. \u003cbr\u003eThe input impedance is 100kohm. Maximum input level is \u0026gt;\u003cbr\u003e+29dBu (balanced). \u003cbr\u003eOutputs \u003cbr\u003eThe outputs are electronically balanced and can deliver \u0026gt;+\u003cbr\u003e28dBu into 600ohm (balanced). \u003cbr\u003eOutput impedance is 33ohm (balanced and unbalanced). \u003cbr\u003eThe inputs and outputs can be unbalanced by simply grounding either pin 2 or pin 3\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTechnical Specification:- \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eInput Impedance 100 kohm\u003c\/li\u003e\n\u003cli\u003eMaximum input level +29dBu (0dBu = 0.775V)\u003c\/li\u003e\n\u003cli\u003eThresholds (0dB input gain) -10dBu to +20dBu\u003c\/li\u003e\n\u003cli\u003eTypical THD (ratio 1:1) \u0026lt;-90dB\u003c\/li\u003e\n\u003cli\u003eFrequency Response within 0.05dB 20Hz to 20kHz\u003c\/li\u003e\n\u003cli\u003eBandwidth greater than 1Hz to 500kHz\u003c\/li\u003e\n\u003cli\u003eTypical Noise -90dBu\u003c\/li\u003e\n\u003cli\u003eMaximum Output level +28dBu\u003c\/li\u003e\n\u003cli\u003eOutput impedance 33 ohm\u003c\/li\u003e\n\u003c\/ul\u003e","published_at":"2017-09-17T07:06:43+02:00","created_at":"2017-09-17T07:08:53+02:00","vendor":"MASELEC","type":"Multiband Compressor \/ Expander","tags":["Compressors \/ Limiters","MASELEC","Price Range_$3000 and Over","Shop by brand_MASELEC","Shop by category_Compressors \/ Limiters","Signal Processing","Studio \u0026 Recording"],"price":506509,"price_min":506509,"price_max":506509,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":1416943829018,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"MLA-4","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"MASELEC MLA-4 Multiband Compressor \/ Expander","public_title":null,"options":["Default Title"],"price":506509,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":null,"inventory_policy":"deny","barcode":"0644221295762"}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/MLA-4.jpg?v=1506263563"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/MLA-4.jpg?v=1506263563","options":["Title"],"content":"\u003cp\u003e\u003cstrong\u003eMASELEC MLA-4 Multiband Compressor \/ Expander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNew multiband Compressor \/ Expander developed from the popular MLA-3 with added expander functions\u003cbr\u003efor all frequencies.\u003cbr\u003eThe MLA-4 is a powerful tool that could be used for:\u003cbr\u003eRestoring and improving over-compressed or\u003cbr\u003euneven mixes.\u003cbr\u003eChanging the tonal balance when ordinary equalizers are unable to do the job.\u003cbr\u003eCreating exciting new sounds with the unique linking that combines compression and expansion.\u003c\/p\u003e\n\u003cp\u003eThe input signal is split into three frequency-bands. Each\u003cbr\u003e band is passed through a stereo \u003cbr\u003ecompressor \/ expander, where gain and processing can be altered. \u003cbr\u003eThe outputs of the compressors \/ expanders are then re-combined and fed to the outputs. \u003cbr\u003eThere are four different frequencies for each of the two crossovers that can be separately \u003cbr\u003eselected for the low-to-mid and the mid-to-high bands.\u003cbr\u003eThe three frequency-band compressors \/ expanders have separate controls so that different \u003cbr\u003eparts of the audio spectrum can be adjusted and tuned. \u003cbr\u003eWith separate gain controls for each frequency-band, the \u003cbr\u003eMLA-4 can also be used as an equalizer. \u003cbr\u003eYou can always adjust the controls for the separate frequency bands to different settings. \u003cbr\u003eThere is no \u003cbr\u003etechnical \u003cbr\u003ereason why they should be the same for all frequencies. \u003cbr\u003eSeparate Input and Output gain controls, make the MLA-\u003cbr\u003e4 easy to use for different operating levels. \u003cbr\u003eInputs \u003cbr\u003eThe inputs are electronically balanced, virtually ground floating, making them perform as if they \u003cbr\u003eare transformer coupled, but without the associated colouration, low frequency distortion and \u003cbr\u003erestricted bandwidth. \u003cbr\u003eThe input impedance is 100kohm. 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MASELEC MLA-4 Multiband Compressor / Expander

$5,065.09

MASELEC MLA-4 Multiband Compressor / Expander
New multiband Compressor / Expander developed from the popular MLA-3 with added expander functionsfor all frequencies.The MLA-4 is a powerful tool that could be used for:Restoring and improving over-compressed oruneven mixes.Changing the tonal balance when ordinary equalizers are unable to do the job...

{"id":108412633114,"title":"MASELEC MLA-2 Compressor","handle":"maselec-mla-2-compressor","description":"\u003cp\u003e\u003cstrong\u003eMASELEC MLA-2 Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e The MLA-2 is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eApplications\u003c\/strong\u003e\u003cbr\u003eTop recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue compressors have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. 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This makes for more intuitive operation than an adjustable threshold - turn the drive control clockwise and increase the compression depth.\u003cbr\u003e\u003cbr\u003eThe progression into the compression region is gradual and changes as the ratio is increased. Minimal output gain make-up adjustment is needed as the threshold is slightly modified running through different ratio settings. This creates a consistent gain point with about 2-3dB of compression across the ratio range.\u003cbr\u003e\u003cbr\u003eThe MLA-2 automatically adjusts its attack and release times based on the front panel setting for the most musical result. In addition, a modified release decay is used rather than the conventional exponential curve.\u003cbr\u003e\u003cbr\u003eThe MLA-2 IMAGELINK system provides a stereo side-chain link that allows the gain of the two channels to track so avoiding the risk of stereo image shifting when only one channel is controlled. However, transients that are placed to the extreme right or left can result in a slightly un-natural ducking of the other channel, so the stereo link is controlled to avoid this.\u003cbr\u003e\u003cbr\u003eThe MLA-2 achieves excellent results with speech and other highly dynamic sources, as well as instruments such as piano, saxophone or drums. It has a distinctive character, discernable both sonically and in the unique shape of its progressive compression curves. It provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path.\u003c\/p\u003e","published_at":"2017-09-17T07:25:12+02:00","created_at":"2017-09-17T07:27:37+02:00","vendor":"MASELEC","type":"Compressors","tags":["Compressors \/ Limiters","MASELEC","Price Range_$3000 and Over","Shop by brand_MASELEC","Shop by category_Compressors \/ Limiters","Signal Processing","Studio \u0026 Recording"],"price":315000,"price_min":315000,"price_max":315000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":1417487220762,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"MLA-2","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"MASELEC MLA-2 Compressor","public_title":null,"options":["Default Title"],"price":315000,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":null,"inventory_policy":"deny","barcode":"0644221295878"}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Maselec_20MLA-2_20-_20ang.jpg?v=1505626081"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Maselec_20MLA-2_20-_20ang.jpg?v=1505626081","options":["Title"],"content":"\u003cp\u003e\u003cstrong\u003eMASELEC MLA-2 Compressor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e The MLA-2 is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eApplications\u003c\/strong\u003e\u003cbr\u003eTop recording and mastering engineers still use some analogue signal processing equipment, finding the familiar correlation between sound and control better to work with. However, most analogue compressors have either continuously variable controls, making precise adjustments difficult, or just a few coarsely-stepped controls. Many fail to meet the standards of audio performance consistent with digital media. The MLA-2 provides fully-stepped controls for precision and repeatability for ALL parameters.\u003cbr\u003e\u003cbr\u003eThe MLA-2 is extensively used in mastering but also works well on an insertion point in recording or mixing. The MLA-2 has a rear-mounted range control switch that adjusts the threshold range to suit either mastering or recording\/mixing applications.\u003cbr\u003e\u003cbr\u003eThe MLA-2 is a compressor that can provide effective dynamic control with minimal side-effects - it is designed to provide a very transparent signal path.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePedigree and design philosophy for the MLA-2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe combination of Leif Mases' experience with the creative process and engineering and technical excellence ensure that the Maselec MLA-2 delivers great-sounding audio in an intuitive and easy-to-use package.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eUsing the MLA-2\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe MLA-2 is a very special Compressor that has been designed to provide effective but subtle compression. It uses the principle of a fixed threshold, with adjustable drive (or input gain). This makes for more intuitive operation than an adjustable threshold - turn the drive control clockwise and increase the compression depth.\u003cbr\u003e\u003cbr\u003eThe progression into the compression region is gradual and changes as the ratio is increased. Minimal output gain make-up adjustment is needed as the threshold is slightly modified running through different ratio settings. This creates a consistent gain point with about 2-3dB of compression across the ratio range.\u003cbr\u003e\u003cbr\u003eThe MLA-2 automatically adjusts its attack and release times based on the front panel setting for the most musical result. In addition, a modified release decay is used rather than the conventional exponential curve.\u003cbr\u003e\u003cbr\u003eThe MLA-2 IMAGELINK system provides a stereo side-chain link that allows the gain of the two channels to track so avoiding the risk of stereo image shifting when only one channel is controlled. However, transients that are placed to the extreme right or left can result in a slightly un-natural ducking of the other channel, so the stereo link is controlled to avoid this.\u003cbr\u003e\u003cbr\u003eThe MLA-2 achieves excellent results with speech and other highly dynamic sources, as well as instruments such as piano, saxophone or drums. It has a distinctive character, discernable both sonically and in the unique shape of its progressive compression curves. It provides the warmth, punch or air you need with a minimum of effort and without compromising the signal path.\u003c\/p\u003e"}

MASELEC MLA-2 Compressor

$3,150.00

MASELEC MLA-2 Compressor
The MLA-2 is a stereo or 2-channel compressor with stepped drive (input gain), ratio, attack and release time and output gain controls. For optimum transparency and freedom from noise the MLA-2 employs a non-VCA design.ApplicationsTop recording and mastering engineers still use some analogue signal processing equipment,...

{"id":10468102733,"title":"Chandler Limited TG1 Limiter","handle":"chandler-limited-tg1-limiter","description":"\u003ch1 id=\"reader-title\"\u003eTG1 Limiter | Chandler Limited\u003c\/h1\u003e\n\u003cp\u003eThe Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late '60s. These rare pieces were never commercially available, and only EMI owned studios had access to them. The TG1 Limiter was originally designed to be like the Fairchild 660\/670 which was loved by many EMI engineers including Geoff Emerick, but it ended up with its own very special sound.\u003c\/p\u003e\n\u003cp\u003eTG equipment was used on many classic records. The Limiter was featured on every channel of TG consoles used to record The Beatles \"Abbey Road\" and Pink Floyd \"Dark Side of the Moon,\" in addition to albums by Paul McCartney and the Rolling Stones.\u003c\/p\u003e\n\u003cp\u003eThe Limiter\/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTG1 Updates \u0026amp; Modifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHarmonic Distortion Function\u003c\/p\u003e\n\u003cp\u003eNow standard on all Abbey Road Special Edition TG-1's, this option allows bypassing of the compressor\/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That's more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.\u003c\/p\u003e\n\u003cp\u003eAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V). For more information please call us at (319) 885-4200.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv id=\"parallelogram\"\u003e\n\u003ch1\u003eTech Specs\u003c\/h1\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"tech-specs\"\u003e\n\u003ch3\u003e\u003ccite\u003eTG1 LIMITER TECHNICAL SPECIFICATIONS\u003c\/cite\u003e\u003c\/h3\u003e\n\u003cp\u003eCHANNELS: Stereo \/ Dual Mono\u003c\/p\u003e\n\u003cp\u003eCIRCUIT: Discrete, Transistor\u003c\/p\u003e\n\u003cp\u003eCONNECTIONS\u003cbr\u003eI\/O: XLR\u003cbr\u003eAll Connections Transformer Balanced Pin 2 Hot\u003c\/p\u003e\n\u003cp\u003ePOWER: ±28v\u003cbr\u003eRequires Chandler Limited PSU-1 MKII power supply.\u003c\/p\u003e\n\u003c\/div\u003e","published_at":"2018-08-11T20:50:11+02:00","created_at":"2017-07-19T16:15:48+02:00","vendor":"Chandler Limited","type":"Studio \u0026 Recording","tags":["Chandler Limited","Chandler Limited TG1 Limiter","Compressors","Compressors \/ Limiters","Limiters","Price Range_$3000 and Over","Shop by brand_Chandler Limited","Shop by category_ Limiters","Shop by category_500 Series","Shop by category_Compressors","Shop by category_Compressors \/ Limiters","Shop by category_Signal Processing \u0026 500 Series","Shop by category_Studio \u0026 Recording","Signal Processing \u0026 500 Series","Studio \u0026 Recording"],"price":393500,"price_min":393500,"price_max":393500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":40612013389,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"TG1","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Chandler Limited TG1 Limiter","public_title":null,"options":["Default Title"],"price":393500,"weight":0,"compare_at_price":null,"inventory_quantity":0,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_front.jpg?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Video-logo-black_4_430469ae-aa98-4944-9969-19ed37e04fc3.png?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_front_rt_angle.jpg?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_front_lft_angle.jpg?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_limited_tg1_limiter_rear.jpg?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_03.png?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_04.png?v=1534083465","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_05.png?v=1534083465"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/chandler_tg1_limiter_front.jpg?v=1534083465","options":["Title"],"content":"\u003ch1 id=\"reader-title\"\u003eTG1 Limiter | Chandler Limited\u003c\/h1\u003e\n\u003cp\u003eThe Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late '60s. These rare pieces were never commercially available, and only EMI owned studios had access to them. The TG1 Limiter was originally designed to be like the Fairchild 660\/670 which was loved by many EMI engineers including Geoff Emerick, but it ended up with its own very special sound.\u003c\/p\u003e\n\u003cp\u003eTG equipment was used on many classic records. The Limiter was featured on every channel of TG consoles used to record The Beatles \"Abbey Road\" and Pink Floyd \"Dark Side of the Moon,\" in addition to albums by Paul McCartney and the Rolling Stones.\u003c\/p\u003e\n\u003cp\u003eThe Limiter\/Compressor features an all discrete circuit with transformer balanced input and output. The limiting element is a rarely seen diode network that produces smooth, pleasing distortion. The warm open sound, often compared to a Fairchild 670 set to stun, is very audible and squishy sounding while maintaining its clarity and high frequency response.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTG1 Updates \u0026amp; Modifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHarmonic Distortion Function\u003c\/p\u003e\n\u003cp\u003eNow standard on all Abbey Road Special Edition TG-1's, this option allows bypassing of the compressor\/limiter threshold but leaves all circuits in the signal path, turning the unit into a powerful Harmonic Distortion generator capable of kicking out up to 2% Total Harmonic Distortion. That's more than 2 times the amount of analog tape! And all with 100% discrete transformer balanced circuits. Adjust the input for amount of THD and the output to match level. Try running Distortion on one channel and hard limiting on the other. The ultimate in retro! This option is placed on the front panel of the unit with a toggle switch for each channel.\u003c\/p\u003e\n\u003cp\u003eAll TG units require and function on the PSU-1, Chandler Limited power supply. The PSU-1 has an internal switch for setting voltage to 120V or 220V (115V\/230V). For more information please call us at (319) 885-4200.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv id=\"parallelogram\"\u003e\n\u003ch1\u003eTech Specs\u003c\/h1\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"tech-specs\"\u003e\n\u003ch3\u003e\u003ccite\u003eTG1 LIMITER TECHNICAL SPECIFICATIONS\u003c\/cite\u003e\u003c\/h3\u003e\n\u003cp\u003eCHANNELS: Stereo \/ Dual Mono\u003c\/p\u003e\n\u003cp\u003eCIRCUIT: Discrete, Transistor\u003c\/p\u003e\n\u003cp\u003eCONNECTIONS\u003cbr\u003eI\/O: XLR\u003cbr\u003eAll Connections Transformer Balanced Pin 2 Hot\u003c\/p\u003e\n\u003cp\u003ePOWER: ±28v\u003cbr\u003eRequires Chandler Limited PSU-1 MKII power supply.\u003c\/p\u003e\n\u003c\/div\u003e"}

Chandler Limited TG1 Limiter

$3,935.00

TG1 Limiter | Chandler Limited
The Chandler Limited TG1 is a recreation of the classic EMI TG12413 Limiter used in custom EMI and Abbey Road recording and mastering consoles from the late '60s. These rare pieces were never commercially available, and only EMI owned studios had access to them. The TG1 Limiter was originally designed to be like th...

{"id":1625016959022,"title":"Empirical Labs EL8 Distressor [ USED ]","handle":"empirical-labs-distressor-model-el8-used","description":"\u003ch1 id=\"reader-title\"\u003eEmpirical Labs Distressor - Digitally Controlled Analog Knee Compressor\u003c\/h1\u003e\n\u003cp\u003eThe Distressor is the product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time...\u2028if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003cbr\u003e \u003cbr\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/p\u003e\n\u003cp\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting - a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003cbr\u003e \u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path - are also available to help with low frequencies that can cause pumping and breathing.\u003cbr\u003e \u003cbr\u003eThe Distressor is available in either its original form (EL8), or in a modified version (EL8-X) with two additional functions - British Mode, and Image Link.\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRITISH MODE\u003c\/strong\u003e\u003cbr\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003cbr\u003e \u003cbr\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic - not just to the new “British” ratio (1:1) - to any of the ratios, simply by engaging the dedicated “British Mode\" switch.\u003c\/p\u003e\n\u003cdiv class=\"product_subhead clearfix colelem\" id=\"u7437-4\" data-muse-uid=\"U7437\" data-muse-type=\"txt_frame\"\u003e\n\u003ch2\u003eIMAGE LINK\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" id=\"u7340-4\" data-muse-uid=\"U7340\" data-muse-type=\"txt_frame\"\u003e\n\u003cp\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options - the original “phase” link, the new Image Link and the combination of the two, phase and image linking - something never before offered on any compressors or limiters.\u003c\/p\u003e\n\u003ch2\u003eGO STEREO\u003c\/h2\u003e\n\u003cp\u003eFor many Distressor owners, one is never enough - in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together. If you want the Brit Mod and Image Link options, an EL8X-S package is also available.\u003c\/p\u003e\n\u003ch2\u003eSPECIFICATIONS\u003c\/h2\u003e\n\u003cp\u003eFreq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• DC coupled output - High quality input caps.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Input impedance is 20K Ohms, Output impedance is \u0026lt; 75 ohms\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Metal Chassis - single height 1.75\" high, 10\" deep, 19\" wide.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5\" x 18.5\" x 3 1\/4\".\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Stereo Pair box dimensions 22.5\" x 18.5\" x 6 1\/4\u003c\/p\u003e\n\u003c\/div\u003e","published_at":"2018-12-16T15:09:45+02:00","created_at":"2018-12-16T15:04:46+02:00","vendor":"Empirical Labs","type":"Compressors","tags":["Compressors \/ Limiters","Computer Audio","Empirical Labs","Price Range_$1000 to $1500","Pro Audio","Shop by brand_Empirical Labs","Shop by category_Compressors \/ Limiters","Shop by category_Studio \u0026 Recording","used","Used Gear"],"price":145000,"price_min":145000,"price_max":145000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":14918401654830,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Empirical Labs EL8 Distressor [ USED ]","public_title":null,"options":["Default Title"],"price":145000,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/distressor_pair_41f47df8-ac84-4541-80a7-9cae8d80e84c.jpg?v=1544965487","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/Video-logo-black_4_9bd29b6c-4141-415c-992e-85cc95734aae.png?v=1544965487","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/distressor_pair_rear_b09e5761-882b-49dc-ae1b-ed5e0dbd24fb.png?v=1544965487","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/distressorel8x_pair_angle_right_73b192c0-6b09-428d-92f3-ae86bd8a61e7.png?v=1544965487","\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/image_07d34355-f7c0-4db4-90e4-e95e82a4ebfa.jpg?v=1544965705"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/distressor_pair_41f47df8-ac84-4541-80a7-9cae8d80e84c.jpg?v=1544965487","options":["Title"],"content":"\u003ch1 id=\"reader-title\"\u003eEmpirical Labs Distressor - Digitally Controlled Analog Knee Compressor\u003c\/h1\u003e\n\u003cp\u003eThe Distressor is the product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique and interesting features that have made it a staple for audio engineers all over the world. With over 28,000 units in the field, it’s safe to say that the Distressor is one of the best selling high end compressors of all time...\u2028if not THE best selling. A prominent recording engineer recently wagered that there probably was not a top 40 record made in the last five years that didn’t have at least one Distressor on it.\u003cbr\u003e \u003cbr\u003eBesides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. This “warmth” or “vintage sound” has become a major issue in the last few decades, as the super clear and linear digital technology does next to nothing to soften “harsh” sounds, nor emphasize the bass frequencies in music sources. Conversely, older analog tape, vinyl records and tube equipment could not be prevented from coloring the sound, often to the frustration of recording engineers. However, many people now realize that this coloring can be extremely pleasant and musical. Digital technology is often referred to as “cold” and “brittle” among other terms (although we prefer “unforgiving”).\u003c\/p\u003e\n\u003cp\u003eAll eight of the Distressor’s curves are unique and distinctive, from the 1:1 mode that simply warms up signal with low order harmonics without intentional compression, to the “Nuke” setting - a brick wall limiting curve that shines on live drum room mics. Each curve has its own personality and several actually use different circuitry, and are effectively different compressors. Most exceptional is the 10:1 “Opto” ratio which uses separate detector circuitry to emulate the oldest (and valued) “light controlled” devices, such as the LA-2A.\u003cbr\u003e \u003cbr\u003eAnother large part of the Distressor’s personality and power derive from three modes that color the signal, even without compression. These extended audio modes were designed to allow emulation of some very old and expensive vintage compressors \u0026amp; limiters, and let the Distressor deliver a classic “knee” sound all its own by providing user programmable, warm harmonic distortion. In addition to the basic distortion mode, Distort 2 emphasizes tube-like 2nd order harmonics, while in Distort 3 setting the distortion becomes dominated by 3rd harmonics more closely resembling tape. Two HP filters – one in the audio path, one in the detector path - are also available to help with low frequencies that can cause pumping and breathing.\u003cbr\u003e \u003cbr\u003eThe Distressor is available in either its original form (EL8), or in a modified version (EL8-X) with two additional functions - British Mode, and Image Link.\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBRITISH MODE\u003c\/strong\u003e\u003cbr\u003eThe concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.\u003cbr\u003e \u003cbr\u003eThe EL8-X has the advantage of being able to selectively apply this aggressive characteristic - not just to the new “British” ratio (1:1) - to any of the ratios, simply by engaging the dedicated “British Mode\" switch.\u003c\/p\u003e\n\u003cdiv class=\"product_subhead clearfix colelem\" id=\"u7437-4\" data-muse-uid=\"U7437\" data-muse-type=\"txt_frame\"\u003e\n\u003ch2\u003eIMAGE LINK\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"page_text clearfix colelem\" id=\"u7340-4\" data-muse-uid=\"U7340\" data-muse-type=\"txt_frame\"\u003e\n\u003cp\u003eThe original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer\/engineers want to maintain absolute left\/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options - the original “phase” link, the new Image Link and the combination of the two, phase and image linking - something never before offered on any compressors or limiters.\u003c\/p\u003e\n\u003ch2\u003eGO STEREO\u003c\/h2\u003e\n\u003cp\u003eFor many Distressor owners, one is never enough - in fact, one extremely successful engineer has twelve of them! For those who want (at least) a stereo pair, ELI offers the EL8-S, a pair of Distressors that are matched at the factory, and come with the cables you need to lock them together. If you want the Brit Mod and Image Link options, an EL8X-S package is also available.\u003c\/p\u003e\n\u003ch2\u003eSPECIFICATIONS\u003c\/h2\u003e\n\u003cp\u003eFreq. response is 2 Hz to 160 kHz in clean audio mode (+0, -3 dB). Response is shaped in distortion modes (Dist 2, Dist 3).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Dynamic range 110 dB from max. output to min. output in 1:1 mode. Greater than 100 dB signal to noise in distort 3 mode.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Distortion ranges between .02% and 20% depending on distortion mode and release times set on front panel.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• DC coupled output - High quality input caps.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Input impedance is 20K Ohms, Output impedance is \u0026lt; 75 ohms\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Time constants - Attack range 50uS - 50mS. Release range .05 sec to 3.5 seconds, normal modes and up to 20 seconds in 10:1 opto mode. Time constants are dependant on ratio.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Metal Chassis - single height 1.75\" high, 10\" deep, 19\" wide.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Shipping info - 12.1 lbs mono, 24.2 lbs Stereo pair. Mono box dimensions 22.5\" x 18.5\" x 3 1\/4\".\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e• Stereo Pair box dimensions 22.5\" x 18.5\" x 6 1\/4\u003c\/p\u003e\n\u003c\/div\u003e"}

Empirical Labs EL8 Distressor [ USED ]

$1,450.00

Empirical Labs Distressor - Digitally Controlled Analog Knee Compressor
The Distressor is the product that started it all for Empirical Labs. Born of founder Dave Derr’s love of classic compressors like the 1176, LA-2A and Gain Brain (among others), the Distressor incorporates his favorite sonic characteristics of these, along with other unique ...

{"id":244299694106,"title":"Overstayer Stereo Field Effect Model 3706","handle":"overstayer-stereo-field-effect-model-3707","description":"\u003cstrong\u003eOverstayer Stereo Field Effect Model 3706\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWe love FET compression! In fact, some say we’re slightly obsessed with it. They might be right.\u003cbr\u003e\u003cbr\u003eThe Overstayer Stereo Field Effect Model 3706 Limiter\/Compressor is an evolution of our passion for FET compressors and classic analog recording chains. The Stereo Field Effect, or SFE, is a stereo unit with ganged controls that combines compression and limiting, with analog tone shaping and harmonics stages to evoke the tonality of a classic analog recording and mixing chain.\u003cbr\u003e\u003cbr\u003eClassic FET ratios, as well as subtle low and hard limit ratios, allow the balance of compression to harmonics to be tailored, while wide-ranging attack and release options allow the envelope to shape exactly what hits the harmonics stages. The integrated sidechain filter and tone shaping of the discrete harmonics stages allows the signal to remain full even with large amounts of gain reduction. The Nonlinear mode engages an alternate aggressive personality, giving you new and unique dynamic textures.","published_at":"2017-12-24T13:19:12+02:00","created_at":"2017-12-24T13:20:35+02:00","vendor":"Overstayer","type":"Compressors \/ Limiters","tags":["Compressors \/ Limiters","Overstayer","Price Range_$1500 to $2000","Shop by brand_Overstayer","Shop by category_Compressors \/ Limiters"],"price":189500,"price_min":189500,"price_max":189500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":3302742458394,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Overstayer Stereo Field Effect Model 3706","public_title":null,"options":["Default Title"],"price":189500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/overstayer_3706_front.jpg?v=1514114552"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/overstayer_3706_front.jpg?v=1514114552","options":["Title"],"content":"\u003cstrong\u003eOverstayer Stereo Field Effect Model 3706\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWe love FET compression! In fact, some say we’re slightly obsessed with it. They might be right.\u003cbr\u003e\u003cbr\u003eThe Overstayer Stereo Field Effect Model 3706 Limiter\/Compressor is an evolution of our passion for FET compressors and classic analog recording chains. The Stereo Field Effect, or SFE, is a stereo unit with ganged controls that combines compression and limiting, with analog tone shaping and harmonics stages to evoke the tonality of a classic analog recording and mixing chain.\u003cbr\u003e\u003cbr\u003eClassic FET ratios, as well as subtle low and hard limit ratios, allow the balance of compression to harmonics to be tailored, while wide-ranging attack and release options allow the envelope to shape exactly what hits the harmonics stages. The integrated sidechain filter and tone shaping of the discrete harmonics stages allows the signal to remain full even with large amounts of gain reduction. The Nonlinear mode engages an alternate aggressive personality, giving you new and unique dynamic textures."}

Overstayer Stereo Field Effect Model 3706

$1,895.00

Overstayer Stereo Field Effect Model 3706We love FET compression! In fact, some say we’re slightly obsessed with it. They might be right.The Overstayer Stereo Field Effect Model 3706 Limiter/Compressor is an evolution of our passion for FET compressors and classic analog recording chains. The Stereo Field Effect, or SFE, is a stereo unit with ga...

{"id":244317519898,"title":"Weiss DS1","handle":"weiss-ds1","description":"\u003cstrong\u003eWeiss DS1\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWeiss DS1-MK3, the reference when it comes to digital mastering Compressors and De-Essers. An extremely versatile single band limiter\/compressor with M\/S mode and Parallel Compression facilities.\u003cbr\u003e\u003cbr\u003eThe Weiss 102 Series split band De-Esser was one of the mastering industry’s most highly praised digital product. With the DS1-MK3 the Weiss engineers have taken their de-esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity.","published_at":"2017-12-24T14:18:38+02:00","created_at":"2017-12-24T14:21:28+02:00","vendor":"Weiss","type":"Compressors \/ Limiters","tags":["Compressors \/ Limiters No search results.","Price Range_$3000 and Over","Shop by brand_Weiss","Shop by category_Compressors \/ Limiters","Weiss"],"price":892000,"price_min":892000,"price_max":892000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":3302775128090,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Weiss DS1","public_title":null,"options":["Default Title"],"price":892000,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/weiss_ds1.jpg?v=1514118097"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/weiss_ds1.jpg?v=1514118097","options":["Title"],"content":"\u003cstrong\u003eWeiss DS1\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWeiss DS1-MK3, the reference when it comes to digital mastering Compressors and De-Essers. An extremely versatile single band limiter\/compressor with M\/S mode and Parallel Compression facilities.\u003cbr\u003e\u003cbr\u003eThe Weiss 102 Series split band De-Esser was one of the mastering industry’s most highly praised digital product. With the DS1-MK3 the Weiss engineers have taken their de-esser design and combined it with the best features of the time proven 102 Series Dynamics Processors. The result is a stand alone digital Dynamics Processor with unparalleled performance and sonic integrity."}

Weiss DS1

$8,920.00

Weiss DS1Weiss DS1-MK3, the reference when it comes to digital mastering Compressors and De-Essers. An extremely versatile single band limiter/compressor with M/S mode and Parallel Compression facilities.The Weiss 102 Series split band De-Esser was one of the mastering industry’s most highly praised digital product. With the DS1-MK3 the Weiss en...

{"id":244302643226,"title":"Shadow Hills Industries Mastering Compressor","handle":"shadow-hills-industries-mastering-compressor","description":"\u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor\/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.\u003cbr\u003e\u003cbr\u003eThe input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.\u003cbr\u003e\u003cbr\u003eThe first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.\u003cbr\u003e\u003cbr\u003eThe optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.\u003cbr\u003e\u003cbr\u003eFor instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.\u003cbr\u003e\u003cbr\u003eThe metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003cbr\u003e\u003cbr\u003eAll 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e","published_at":"2017-12-24T13:32:10+02:00","created_at":"2017-12-24T13:33:01+02:00","vendor":"Shadow Hills Industries","type":"Compressors \/ Limiters","tags":["Compressors \/ Limiters No search results.","Price Range_$3000 and Over","Series Compressors \/ Limiters","Shadow Hills Industries","Shop by brand_Shadow Hills Industries","Shop by category_Compressors \/ Limiters","Signal Processing \u0026 500","Studio \u0026 Recording"],"price":779500,"price_min":779500,"price_max":779500,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":3302751764506,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Shadow Hills Industries Mastering Compressor","public_title":null,"options":["Default Title"],"price":779500,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/shadowhills_masteringcomp.jpg?v=1514115190"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/shadowhills_masteringcomp.jpg?v=1514115190","options":["Title"],"content":"\u003cstrong\u003eShadow Hills Industries Mastering Compressor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThe Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor\/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.\u003cbr\u003e\u003cbr\u003eThe input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.\u003cbr\u003e\u003cbr\u003eThe first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.\u003cbr\u003e\u003cbr\u003eThe optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.\u003cbr\u003e\u003cbr\u003eFor instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.\u003cbr\u003e\u003cbr\u003eThe metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.\u003cbr\u003e\u003cbr\u003eAll 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e"}

Shadow Hills Industries Mastering Compressor

$7,795.00

Shadow Hills Industries Mastering CompressorThe Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical comp...

Q2 Audio F765 COMPEX 500

$1,025.00

Q2 AUDIO F765 COMPEX 500Manufactured by Q2 Audio in close collaboration with Audio & Design, the F765 is a remake of the classic F760-N module and has now been adapted to the 500 series modular rack system. It is authentic in every detail and reproduces the exact sonic qualities of the original product.Using the original discrete analogue ci...

{"id":244301365274,"title":"Q2 Audio ADR COMPEX F760X-RS","handle":"q2-audio-adr-compex-f760x-rs","description":"\u003cstrong\u003e Q2 Audio ADR COMPEX F760X-RS\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFunctionally, the new Compex has all the same features and settings as the original unit, employing the same super-flexible FET-based compression, limiting and gating. Switchable threshold, compression ratio, and attack\/release times are available with all the same settings and a stereo link switch is provided for linking the two channels together for operation in stereo. An all-new external side-chain insert has been added to the new Compex, letting you feed the detector circuit of the compressor with an independent sound source. The side-chain insert can be set to control the gate circuit, instead, by simply switching over an internal jumper. The limit section has a switchable 50us \"pre-emphasis\" setting in addition to the normal “on” position. Pre-emphasis was originally used for limiting high frequencies to prevent over-modulation during broadcast use. Pre-emphasis boosts the high frequencies entering the limiter side-chain, acting as a de-esser causing limiting action on sibilant high frequencies. The compressor side-chain insert is useful for adding an EQ to the side-chain audio signal to create \"vocal stresser\" type frequency-dependent compression effects or inserting another audio source for “ducking\".\u003cbr\u003e\u003cbr\u003eImproving upon some of the components and build-quality concerns of the original Compex, a high-quality meter has been employed (replacing the discontinued Sifam™ Director 14 meter) and the original “ABC” cards have been combined to a single PCB to allow for more efficient manufacturing. Also, some slight alterations have been made to the calibration functions to help the unit maintain calibration over a longer period of time. The original potentiometers were an open frame design which became noisy as time wore on, the re-issue has sealed conductive plastic potentiometers to improve the usable life-span.\u003cbr\u003e\u003cbr\u003eWith a wide range of features and functions, the new ADR Compex by Q2 Audio can meet the needs of any dynamic-processing task, adding a character and flavor all its own. Those familiar with the original Compex will be pleased to see how faithfully recreated this reincarnate really is, with a few enhancements and updates to make one of the best compressor\/limiters just that much better.","published_at":"2017-12-24T13:26:10+02:00","created_at":"2017-12-24T13:27:45+02:00","vendor":"Q2 Audio","type":"Compressors \/ Limiters","tags":["Compressors \/ Limiters No search results.","Price Range_$2000 to $3000","Q2 Audio","Shop by brand_Q2 Audio","Shop by category_Compressors \/ Limiters"],"price":275000,"price_min":275000,"price_max":275000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":3302748880922,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Q2 Audio ADR COMPEX F760X-RS","public_title":null,"options":["Default Title"],"price":275000,"weight":0,"compare_at_price":null,"inventory_quantity":1,"inventory_management":null,"inventory_policy":"deny","barcode":""}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/q2audio_f760xrs.jpg?v=1514114873"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0292\/6125\/products\/q2audio_f760xrs.jpg?v=1514114873","options":["Title"],"content":"\u003cstrong\u003e Q2 Audio ADR COMPEX F760X-RS\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFunctionally, the new Compex has all the same features and settings as the original unit, employing the same super-flexible FET-based compression, limiting and gating. Switchable threshold, compression ratio, and attack\/release times are available with all the same settings and a stereo link switch is provided for linking the two channels together for operation in stereo. An all-new external side-chain insert has been added to the new Compex, letting you feed the detector circuit of the compressor with an independent sound source. The side-chain insert can be set to control the gate circuit, instead, by simply switching over an internal jumper. The limit section has a switchable 50us \"pre-emphasis\" setting in addition to the normal “on” position. Pre-emphasis was originally used for limiting high frequencies to prevent over-modulation during broadcast use. Pre-emphasis boosts the high frequencies entering the limiter side-chain, acting as a de-esser causing limiting action on sibilant high frequencies. The compressor side-chain insert is useful for adding an EQ to the side-chain audio signal to create \"vocal stresser\" type frequency-dependent compression effects or inserting another audio source for “ducking\".\u003cbr\u003e\u003cbr\u003eImproving upon some of the components and build-quality concerns of the original Compex, a high-quality meter has been employed (replacing the discontinued Sifam™ Director 14 meter) and the original “ABC” cards have been combined to a single PCB to allow for more efficient manufacturing. Also, some slight alterations have been made to the calibration functions to help the unit maintain calibration over a longer period of time. The original potentiometers were an open frame design which became noisy as time wore on, the re-issue has sealed conductive plastic potentiometers to improve the usable life-span.\u003cbr\u003e\u003cbr\u003eWith a wide range of features and functions, the new ADR Compex by Q2 Audio can meet the needs of any dynamic-processing task, adding a character and flavor all its own. Those familiar with the original Compex will be pleased to see how faithfully recreated this reincarnate really is, with a few enhancements and updates to make one of the best compressor\/limiters just that much better."}

Q2 Audio ADR COMPEX F760X-RS

$2,750.00

Q2 Audio ADR COMPEX F760X-RSFunctionally, the new Compex has all the same features and settings as the original unit, employing the same super-flexible FET-based compression, limiting and gating. Switchable threshold, compression ratio, and attack/release times are available with all the same settings and a stereo link switch is provided for li...